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Many details are still unclear in Hungarian historiography of photography about the date of origin and the awarding of Ernő Vadas's (1899–1962) famous photo entitled Geese. This study attempts to offer some clarifications of these uncertainties. Reasons for the success of “Hungarian style” photographs are also reflected upon by the author, who also shares current views on them.
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The text concerns a group of photographs, currently in the Special Collections Department of the Provincial Public Library - Copernican Library in Toruń (WBP-KK), associated with the German scientific society (CoppernicusVerein für Wissenschaft und Kunst) operating in the city in the second half of the 19th century. The source analysis has allowed to state that the library today contains the remains of two collections related to the German association: the Coppernicus-Verein iconographic collection and the archives of monuments, established at the City Museum in Toruń (Städtisches Museum) in 1896. The article describes the above two groups of photographs, outlining the context of the creation of the photographic archives of monuments in German museums in the second half of the19th century and at the turn of the 19th and 20th centuries.
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This article focuses on Ingrid Vang Nyman’s illustrations to various books about Pippi Long-stocking, written by Astrid Lindgren, ranging from novels through picturebooks to comics. The core of the paper is an analysis of the Danish artist’s style, her use of means of artistic expres-sion, and her attitude towards avant-garde movements in Western art in the 1930s and 1940s. The text briefly covers Vang Nyman’s biography, and the influence of her Danish background, taking mainly the period of her studies at the Royal Academy of Fine Arts in Copenhagen into consideration. Analysis makes it possible to indicate three main features of Vang Nyman’s “Pippi works”, which are a specific construction of space, anti-classical aesthetics, and a self-discilplined use of basic colours taken from modern painting, e.g. Neo-Plasticism.
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Luigi Mayer (1755–1803) was an artist who travelled to the Orient in the last decades of the 18th century. A watercolour painter and drawer, he is known for accurate views made while he was the official painter of Ferdinand IV, King of Naples and the Two Sicilies (1751–1825), Ignazio Paterno Castello (1719–1786), Prince of Biscari, Gabriele Lancillotto Castelli (1727–1792), Prince of Torremuzza and especially of Sir Robert Ainslie, the British ambassador at Constantinople (1730–1794). Luigi Mayer is the first artist who faithfully represented fragments of daily life in rural and urban Romania. In all his views he paid great attention not only to architectural elements of the represented buildings, but also to the local occupations,clothes and details characteristic to the inhabitants and the places he went through. The artist depicted scenes of daily life of ordinary people, as well as of the representatives of the ruling classes.
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The end of the 19th century marked a turning point for the European art scene. The 1890s embodied an extremely prolific period, which encouraged bold experimenting in art. During this period, not only did society manifest a tolerant attitude towards novelty, it was in fact nourished by an insatiable desire for originality and innovation. Reacting vehemently against the Historicism of the 19th century, artists began searching for a more distinctive style, in accordance with the new developing modern era.
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Although the existence of the cult of Artemis Ephesia is provable from the 8th century BC to the 3rd century AD, we know copies of her cult image only from the Roman Empire period. According to most of the researchers, the rich ornamentation of the statue results from the earlier independent attributes which became part of her image. One of the most often used elements are the lion figures. They are depicted in different forms: either as protomes of the polos and ependytes or as indenpendent figures. The former is interpreted as a symbol, the latter as a real animal. This article examines the second version, and makes an attempt to reveal why they appear on the statues of Artemis Ephesia. A statuette fragment that was found in 2014 on the area of the Artemision of Ephesus may give the possibility to find the answer to this question.
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In my study, I aim to present children’s portraits of Hellenistic Greek sculpture, children’s figures of Eros, and genre-like children’s depictions showing a dyadic relationship, the patterns of attitudes behind the works, in an effort to explore the main voices of the history of childhood, society and ideas. In my paper, I use the methodological tools of childhoodhistorical iconography, in addition to Panofsky’s iconographic-iconological model, in this case mainly validating the Schneiderian approach to social history, taking into account the analytical aspects of visual anthropology, visual sociology and visual communication. The aim of my study is – as a continuation of my paper titled “Representations of Children in the Hellenistic Greek Sculpture” published in the Studies 2019/1 (Tamba 2019, 101–122) – to map the ideological-social meanings and cultural references carried by the child representations of the period, which refer to the work of a new philosophical sensitivity to the problems of the individual.
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The Wesselényi Castle in Jibou/Zsibó occupies a prominent place in the late Baroque architecture of Transylvania. However, it has received relatively little scientific attention and its murals and painted decorations have been studied even less. The construction history of the castle dates back to 1778–1810. Franz Neuhauser, the true pioneer of Transylvanian landscape painting, was a master in the design of interiors and the creation of painted decorations. Between 1803 and 1805 he completed five large paintings in the representative main wing of the Jibou/Zsibó Castle: Zsibó from the Rákóczi Hill (276×330 cm), Bear Hunting (155×276 cm), Rabbit Hunting by the Szamos Riverbank (130×276 cm), Wild Animal Hunting (265×276 cm) and Campfire (90×121 cm), which are reminiscent of Claude Lorraine’s style in their design and conception. Today, the canvases are preserved in the County Museum of History and Art of Zalău/Zilah, and, despite their poor condition of preservation, are of extreme importance. The paintings, whose significance is outstanding in the history of Transylvanian culture, present landscapes around Jibou/Zsibó, some members of the Wesselényi family and the newly completed castle.
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The postage stamp issue “Cecilia Cutescu-Storck 140th anniversary of her birth”, which Romfilatelia introduced into circulation on March 14th, 2019 is dedicated to the celebration of the life and personality of the first female professor of decorative arts in Romania, also noted as the first female teacher at a State Art University in Europe. She left a remarkable artistic heritage.
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Elena Ghica was the writer ,,who was able to make a European name, whose writings occupy an honorary place in all libraries in Europe, public or private”, said Cezar Bolliac, who, together with Radu Ionescu, drew attention the Romanian public on this brilliant writer. The works of Elena Ghica, with regret, are not known in the country because they have never translated into Romanian. In Russia her books have been translated since 1865-1866. Elena Ghica was appreciated for her literary work, but also for her soul qualities, over 30 biographers wrote about her life and and her work as a writer.
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Osnivanjem tzv. dvorske škole u Ahenu za vreme vladavine Karla Velikog,prepisivačka delatnost nadahnuta antičkim, rimskim i ranohrišćanskim uzorima doživelaje veliki zamah. Posvedočeno verno prenošenje sadržaja tekstova prepsivanih po principuex authentico libro, bilo je, još za života Karla Velikog, praćeno bogatim ukrasom. Nekecelostranične minijature predstavljaju pravo bogatstvo različitih, ali veoma promišljenokomponovanih motiva. U okviru dva rukopisa koja se danas čuvaju u Nacionalnojbiblioteci u Parizu, Godeskalkovog jevanđelistara i Jevanđelja Svetog Medara iz Soasona,pojavljuju se celostranične minijature sa predstavom fons vitae, tj. izvor života. Njihovaikonografija, poreklo i simbolična vrednost, predstavljaju glavnu temu ovog rada.
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The First Exhibition of Contemporary Polish Church Art was organised in Kraków in 1911 at the initiative of circles associated with the editors of the “Krakowski Miesięcznik Artystyczny” [Kraków Art Monthly] and the episcopate. It was not a classic review of current trends and tendencies in sacred art. Its authors were aware of the need of reform. Comments contained reflections on how incompat- ible with religious themes was the character of the exhibits; but an even stronger critical tone referred to earlier decorations of nineteenth-century objects of worship. The need for change was dictated by the desire to create art with unique expression, permeated with an authentic religious spirit. A reference to Polish craft achievements, created under the patronage of the Association of Polish Applied Arts as well as the Association “Architecture, Sculpture, Painting and Craft”, and housed in a separate room at the exhibition, was also an important suggestion. In competitions announced at that time, Włodzimierz Konieczny received first prize for his sculpture “Immaculata” and second prize for the plaque depicting the Mother of God and the Child. The rich biography of this little-known artist is worth quoting, as is the concise description of his work. In terms of graphics, his art is located at the boundary between symbolism and expressionism while in sculpture it combines the influences of Neoclassicism and the Neo-Renaissance. The young artist, a graduate of the Kraków Academy of Fine Arts, also undertook the writing of critical works. He claimed that achievements in the field of high art were impossible without parallel development of applied art. Konieczny’s reflections mirror the reflections of his contemporaries on the perspectives of develop- ment of religious art as well as the need to determine its essence and to develop its valid patterns.
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This paper is a study of the fantastic character throughout the history of human civilization. This type of character has evolved from the hybrid creatures playing a divine role in the art of Assyro-Babylonian civilizations and of Ancient Egypt, to the monstrous characters of the Middle Ages which served as substitutes for sin and the force of evil, visible in the entrelacs of illuminated manuscripts or the gargoyles guarding the walls of Gothic cathedrals, to the characters of non-human origin in children’s book illustrations, and up to the characters found in fantasy films or today’s hybrids, who are in a perfect relationship with technological and cultural evolution. The paper discusses some original visions and working methods, from the slightly humorous portraits signed by Arcimboldo, the hybridization of animal kingdoms, in a much more tragic register, in the works of Hieronymus Bosch or the fantastic character used as a weapon of political and moral satire in the works of Goya and Grandville, to the unexpected, occult and mysterious visions of Ernst Fuchs’ creations or the imaginary universe populated by hybrid beings, of ‘extra-terrestrial origin, found in the works of HR Giger.
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The present study is meant to underline the importance of a famous work from the baroque period, Las Meninas, made by the painter Diego de Silva y Velásquez who has become a source of inspiration for future generations of artists. Numerous modern and contemporary artists have integrally or partially ”paraphrased” Velásquez’s composition by intercepting the portrait of revolutionary group for the time when it was created, extremely innovative regarding its compositional qualities and its hidden meanings which underlined the role and status of the artist in the context of a conservative society. Thus, the painting becomes the living proof of the way in which the artist manages to overcome the limitations of the social status of ordinary human beings, by portraying himself as a close friend of the royal family and by opening, through this type of representation, an important chapter in the history of portraiture.
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